This novel release on HNH's new deluxe Grand Piano label offers not
one, but two recordings of Beethoven's complete music for piano duet. Young
American sisters Amy and Sara Hamann perform these five works first on a
modern Yamaha piano, and then, on CD2, da capo on a period
reproduction fortepiano. Moreover, whilst the Yamaha recording takes place
in a concert hall, the Hamanns sensitively relocate to a
chamber-proportioned space to capture better the more intimate voice of the
fortepiano.

This being Beethoven, these works have all been recorded before -
but not that many times. Even op.6 is relatively uncommon, usually omitted
from complete cycles of Beethoven's sonatas. Collections of all five works
are rarer still. One recent competitor appeared ironically on HNH's Naxos
label - American pianists Cullan Bryant and Dmitry Rachmanov performing on
period instruments (8.572519-20). Despite the interesting inclusion of duet
works by Beethoven's teachers Albrechtsberger, Haydn and Neefe, their
double-disc came out with a similar timing - because they only gave the one
run-through of Beethoven. Though by comparison an also-ran in terms of
price, the present release offers that unusual, if not unique, side-by-side
chronicle, and it is hard to see how Beethoven fans in particular could go
wrong.

With regard to Bryant and Rachmanov, the Hamanns are decidedly
punchier, pushing things along in every instance to produce readings that
are always faster, whether on modern or period instruments. Most strikingly
perhaps, their Grosse Fuge on fortepiano is a full three minutes
quicker than Bryant and Rachmanov's. In fact, Beethoven's own transcription
of that monumental piece will likely be the biggest pull for music-lovers,
even if the piano version does not quite have the magic or power of the
original for string quartet. Nonetheless, even Beethoven's lesser works -
most of these are earlyish pieces - are worth the asking price. He himself
took them seriously, as can be seen not only from the fact that two were
accorded opus numbers, but also by the annoyance he demonstrated towards his
publishers over their opportunistic treatment of the Waldstein
Variations and especially the Grosse Fuge.

From beginning to end, though, there is much listening pleasure to
be had - twice over - courtesy both of Beethoven and the Hamanns, making
their debut for HNH and only their second commercial recording. They are
elegant and perceptive, self-confident and telepathic. Audio quality is also
very good. The fortepiano has an attractive sound that should lenify even
those who are no admirers of period instruments. Failing that, hearing the
instruments one after another like this will serve to strengthen individual
prejudices one way or the other! Booklet notes by Naxos's own veteran Keith
Anderson are well written and informative.